counterpoint
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Posts posted by counterpoint
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Just posted on the Studiologic website...few details yet.
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While I am a fan of both Queen and Boston, it is a thin argument to classify the electronic wizardry May and Scholz used to create their sounds as something materially different from "synthesis". I know I regret many of the "purist" attitudes I carried about many different things in my younger years...I wouldn't be surprised if May and Scholz also mellowed as to this issue.
Funny...one of my closest friends, a guitarist I have played off and on with for over 45 years, recently purchased a Fishman Triple Play so he could play classic 80's synth sounds from his guitar...wondering if I should I be resentful or proud...
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Here's AI's take of where the term "Smooth Jazz" came from:
"The term “smooth jazz” was created as a result of radio marketing efforts. It was during the mid-1970s in the United States that the music was known as “smooth radio,” and it wasn’t until the 1980s that the term “smooth jazz” came into use. The phrase was coined by a participant in an industry focus group in the late 1980s, and it has since stuck as a descriptor for this genre of music.
Smooth jazz is a genre that emerged from jazz fusion and is characterized by its commercially oriented, crossover appeal. It gained prominence in the 1980s, with artists like George Benson, Kenny G, and Grover Washington Jr. contributing to its popularity. The style is known for its melodic form and often incorporates elements of pop music and lightweight R&B."
Reading between the lines of those offended by this music, it seems to tie to the word "jazz" being associated with it...but as you can see, the artists had nothing to do with the coining of this term. Personally, I enjoy it for what it is regardless of what it's called and frequently listen to many of the artists within the genre. I've even dabbled in composing music (for fun) that would likely qualify under this label dating back over 40 years ago. Shame on someone who writes something non-lyrical and melodic and calls it "jazz" I guess...
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Our band played this at a small private party at a Jersey shore house last summer. After we finished, and only for this song, we heard whooping from the other side of the fences on either side of the house. Like it or not, it definitely has an energy and passion that blurs generational distinctions (and neighborly angst apparantly). It's fun to play as a keyboardist because it comes off as being complicated...even though it's really not. What's cool musically about it though, IMO, is the interesting interplay between the bass and chords...particularly in the pre chorus and under the synth solo segment. I figured that out when our bass player, who is very good, really struggled to get the bass line straight under the pre-chorus.
As a side note, we had two lead guitarists for that gig so one of them played the whistling synth part...felt it was better to give it up and keep one of them busy playing something that should be in the mix...the adage about an idle mind being the devil's playground takes on a whole new meaning when it comes to lead guitarists... 🤪
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Samples would be nice but there are some basic things I'd like to see more...like:
1) the ability to vary the depth and speed of modulation and the amount of pitch bend,
2) having the low pass filter go fully on and off for on all the sounds it can be applied to,
3) perhaps some portamento capabilities,
4) for the aftertouch to be able to control a few other things beyond modulation, and
5) having different velocity settings by program, not just globally...even fixed vs not fixed would be enough IMO. In the alternative, perhaps they can add a set of the synth sounds that work on a fixed velocity.
I've already passed most of these along to Gianni. He's been terrific in responding to and actually fixing some other bugs I have pointed out to him in my year plus of having the NXP 73.
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On 5/29/2023 at 3:21 PM, MalH said:
I finally made a choice on my next keyboard and received last week a Yamaha YC88 - what an amazing keyboard! I spent today running a comparison of the latency of the YC88 in-built sounds vs an iPad running through the YC888 audio interface. The result is that the iPad is about 20ms delayed which, while not large, is nevertheless noticeable to me for piano, epiano and organ. I'll therefore be relegating the iPad for synth pads and backgrounds only.
Here's what I did:
Load the YC88 piano patch (CFX) and pan it left.
Connect the iPad (2nd gen 12.9inch iPad pro) via usb to the YC88.
Load Korg Module piano patch on the iPad (hosted by AUM with 128buffer @44.1kHz) and pan right.
Configure MIDI to send from the YC88 to the iPad.
Record the stereo output of the YC88 into a separate computer and interface running Logic Pro.
Play various notes on the YC88 keyboard.
Compare the note start times - the right channel is delayed by about 20ms compared to the left.
Malcolm
This was interesting to me so I ran a similar test...except I have an IPad Air - 5th Gen (2022). I run Korg Module directly at 64 buffer without an intervening host. I used the Master function on the YC to pan the IPad sound right, panned the YC sound left and recorded it on my Surface Pro using Studio One. The difference was 10 to 12ms. I wonder if AUM is slowing it up a hair or maybe it's the smaller buffer? I've never used AUM or the like on my IPad so no experience there. Perhaps worth a shot if it doesn't mess up your set-up too much to run Module outside of AUM.
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Going to cast some aspersions against the BL here. Part of the responsibilities of this role are to find out these things more than five days before the gig...and when learning of the set-up issues, IMO the band members should have been re-asked if they still wanted to do the gig. It's not like the event will be left hanging given the number of other bands that are playing.
Maybe you would have still been into it based on the set-up issues...maybe not. No doubt there is pressure in bands to be a team player and for that we've all done gigs that we might have skipped if it was our decision alone. On the other hand, there's being taken advantage of... It seems you have gotten past this part of it and are more concerned with protecting your equipment...which is again something the BL should be helping you with especially under the circumstances. Cool music...I was in a very similar band 20 years ago that had some similar issues. I quit after a couple years...the BS outweighed the musical experience...
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College rig circa 1979: Rhodes, Mini-Korg, Elka Rhapsody, and an Electrovox accordion that had a Crumar organ built in...all running through a Twin Reverb (only thing I still have). Had no stand for the Korg/Elka so used any desk or table I could find when we played at frats, etc. If all else failed, I stacked milk crates and put the Rhodes cover on top as a stand. As limited as this set-up was and as difficult as it was to move it and set it up, gigging was much more fun for me then than it is now.
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Looking more closely at your needs, you might be able to get away with a Presonus 24r as I see you only need 21 analog inputs. The 24r has 24 inputs plus an additional eight digital channels for backing tracks, etc. You can also use and assign any channel to a digital or analog input so the three channels you're not using for analog inputs could be used for digital. In addition, the effects returns are on their own channels, so you needn't include them in the nine you require...presuming you're using the internal effects.
The 24r also has twelve aux outs (1/4") which can be set up as six different stereo IEM feeds if you want.
If it wasn't for our drummer using electronics (four channels as we take a kick and snare feeds separate with toms & cymbals in a stereo feed) we would use even more channels as in addition to the exact same remaining set-up that Analogaddict has, three of our vocalists run through Voicelive Plays running in stereo as well.
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I'd look at the Presonus StudioLive Series III 32r...I have the 24r and use it in a similar fashion to your needs.
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This is one of the very few weaknesses of the YC. The "Depth" knob as it applies to the Delay options is much more related to the number of delay repetitions (feedback) than to the relative amplitude of the delayed signal (wet/dry balance). The only solution I've found is to put the instrument in both slots A and B with the delay only on one or the other and then adjust the volume of the slot with the delay until it is at the level you want. Might be a good to post something on Ideascale asking for Yamaha to add an effect with a delay where the Depth knob primarily effects the wet/dry balance and not feedback.
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Went to the link and listened to the "Organ 1" sound clip. It sounds to me like the organ modeling technology from the YC has been somehow incorporated...time will tell, I guess.
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1 hour ago, JazzPiano88 said:
Not buying it. While the sequence of notes (A E F# vs G D E) is the same intervalically, the vibe and surrounding context is completely different.
Plus they'd both have to sue the Grandfather Clock chime as it contains the same line. (G D E C).
In case my use of double negative was confusing...I agree with you.
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25 minutes ago, analogika said:
Wait, I’m confused. You appear to have written earlier that „Take On Me“ bothered you because it was such a direct rip-off.
I’m trying to figure out what, specifically, you think it ripped off.
For the chorus of "Silly Love Songs" by PM & Wings, the first singing of the words "I Love You" is a similar melody and phrasing to the first "Take on Me" in its chorus...other than that, the songs couldn't really be much more different. I think "Take on Me" is a great tune...and the video is Hall of Fame.
Wings - Silly Love Songs (Official Music Video) - YouTube
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On 8/29/2023 at 7:37 PM, Jon E said:
Morton Harkett must be the US variant of Morten Harket 😉
Confused him with "Victor" Hovland for a minute...(the one the spoils go to...) 🙃
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1 hour ago, DanijelL said:
Yamaha YC (61 or 73) has few important pluses comparing to Nord Electro: USB audio, Audio Ins, real FM (with beautiful FM EPs), full master 4 zones
considering organ section - I would easily get rid XK1 and take NumaX73 for lower board plus YC61 for upper. High key trigger would be the only miss comparing to XK1...
You mean like this?
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40 minutes ago, Markus A. said:
Hello all
Sorry to chime in... I am very tempted to buy the Numa Piano X but I have a few issues that I can not find answers so far. Maybe one of you owners can help me out here.
a) Is it possible to set the velocity curve/response per zone? Like having a AC Piano in Zone one (normal velocity curve) and a pad in Zone B with fixed velocity?
b) Are the EP-S simmilar to the ones in de free App "Numa Player"? Especially on the Wurlies I recon an annoying metallic tine noise around G4 and a few notes up, even if the Tine Volume is set to zero. I notice this noise in the "Wurli-Demos" on SL Website too...
c) I've read somewhere that - with a Mixface attached - the drawbars in organ mode can be operated. Is that true? (Dont think so...)
d) What are the options to tweak the leslie sim? Are speed, ramp time, mic distance etc. available?
Thanks for any help re. this. Cheers, Markus
a) No...and I find this a bit frustrating for my set-ups. Hoping this feature is added in a future firmware update.
b) I'm pretty sure the EP's are different than the Numa Player. IMO the Rhodes emulations are the highlight of the Numa X and the Wurlies are pretty good too. They were improved in one of the recent firmware updates.
c) Not familiar with "Mixface" but all the organ presets look fixed to me with respect to their drawbar configuration to the extent it is specified.
d) There are none of the options you are seeking in that regard. The possible rotary adjustments are similar to those you would find in a chorus or phaser effect. That said, I've heard worse sounding sims than the one on the Numa X...but if having an authentic organ sound is an important for your set-up, you should probably consider alternatives.
All that said, I like the Numa X. It has great MIDI implementation and is an excellent weighted keyboard to use to play the pianos on my YC61…and to fill in some sounds here and there.
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First...Nord released a new EP today...the Stockholm something or other. FWIW, I have a Nord E4, Yamaha YC and a Numa X 73. While the sounds of the Nord and Yamaha EP's are excellent...very pleasant and usable, they are almost too good...too "dense" compared to the real thing IMO. The Numa EP's feel and sound the closest to the real Rhodes I had (1976 Mark1). Being that they're modeled, there are also some interesting adjustments you can make to the Numa X EP's that you can't for the Nord or Yamaha EP's.
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Epic...70+ foot putt for the win. Happy for Canada that Nick Taylor won but sad for Fleetwood...he always seems to have that "weight of the world" look on his face. BTW...just checked...no relation to Mick.
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Here's my rig for an upcoming gig...mostly organ & synth so keeping it simple & lightweight...
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14 minutes ago, cphollis said:
Lots of ways to "stage mix" prior to sending to FOH, splitters not really required. For example, there are enough inputs and outputs on the X32 to input the entire band, drive custom mixes for each of our ears, and also feed each input channel to someone else's main board. If there is no external board, the X32 does both jobs easily.
I have the Presonus 24r...same thing... I know the X32 and the 24r/32r aren't cheap, but they will sure save you and your band from lot of complicated cable acrobatics. These mixers have astounding capabilities...
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Taking the SL 73/88 plus this product, the SL Mixface, looks like it could be a great IPad control set-up. A Bluetooth connection between the device and the iPad, adds another level of coolness.
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Using a Surface Pro with Cantabile running mainly Arturia VST's. Cantabile can do unbelievable things...but I set it up extremely simply with one "song" containing all the VST's I need for a set list loaded into that one song with different MIDI channels assigned from my YC 61 depending on the Live Set. It's totally seamless once it's set up (which takes some work and creativity...).
Right now, I'm not using the YC USB Audio, but instead I'm using a digital channel on the Presonus 24R (the band's mixer) for sounds from the Surface Pro. Have to do this because we are playing "Hungry Like the Wolf" and I have the popcorn synth arpeggio loaded into Cantabile as an MP3 together with an attached click track and starting cues routed to the drummer's in-ears. Cantabile allows you to sort out that kind of multi-channel routing. You can't use the YC USB audio for that because it's only two channels. Also, I'm routing from the five pin MIDI out of the YC to the Surface Pro with a cord that converts the five pin to USB otherwise you get the "digital hum" from having two USB Audio sources hooked up to the same sound source which is what happened when I tried using the USB Audio/MIDI out. Would be nice if there was a way to disable the USB Audio part of that connection on the YC.
Also now have a Numa X and have been experimenting adding an IPad to that. I have an IPad Air with USB C so the connection couldn't be easier. It works great with absolutely no detectable latency to my ears using Korg Module. Mainly using the IPad as a mixing console via "Universal Control" for the 24R though...(and the Surface Pro too even while it's running Cantabile)...I have everything I need and far beyond without adding the IPad as a sound source. Lots of fun stuff to play around with and figure how many different ways it can be assembled...although it can be frustrating at times too. Maybe I should dump it all and get a Nord Stage 4...🤑
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New Studiologic Numa X Piano
in The Keyboard Corner
Posted
My current "full" set-up is a Numa X 73 downstairs and a YC61 upstairs along with a computer and/or IPad. The Numa replaced my PX 5S (which I still have) because I wanted the smaller footprint, easier programming and second USB Audio opportunity. I was hoping that Studiologic would come out with an updated SL 73 with the TP110 and some of the controls from the Mixface integrated in, but no dice yet. If it does, I would be very tempted to replace the Numa X.